Quotes About Audience

Hill Street Blues might have been the first television show that had a memory. One episode after another was part of a cumulative experience shared by the audience.

There have been two Geraldo Riveras through his long career. One of them was a reporter who has done some remarkable work. The other was a television show host who did what it took to get an audience.

When you do a film, when you do a television show, eventually someone comes along and will say to you, 'Don't say that because, one, you will offend someone, or, two, no one will get that. Someone's going to be confused by that, not get the reference and feel abandoned, and then they will get angry at the entertainment.'

It's not enough just to put great television shows out anymore.

You used to have those Saturday morning television shows. You had to do your bit. You had to go on and promote your new release. I quite enjoyed it, actually. You had the parents watching them, and they must have liked what they were seeing, so they'd encourage their kids. And then they'd end up bringing them to the shows.

I have jokes I've told before and will tell again, but my favorite part of the night is talking to the crowd.

When I was a kid, I was always going to bed creating a story, and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.

I don't like books that play to the gallery, but I've become more concerned with telling a story as clearly and engagingly as I can.

A lot of my research time is spent daydreaming - telling an imaginary admiring audience of laymen how to understand some difficult scientific idea.

I don't think of myself as anything more than a person who sits in the living room with you telling you a story. I just happen to be in 16 million living rooms.

We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.

When I started out, I really struggled as a comic because no one knew who I was, and sometimes I was telling stories, so it would take a while for people to get on board for things.

Well, the coffeehouse audiences never know what they're going to get, and all the comics are different, as opposed to when you go to a club, and they're pretty much all telling jokes with set-ups and punchlines. Coffeehouse audiences are the most forgiving: They really listen, which is the best part.

You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.

At the end of the day, acting is all about telling lies. We are professional imposters and the audience accept that. We've made this deal that we tell you a tale and a pack of lies, but there will be a truth in it. You may enjoy it, or it will disturb you.

My management tells me, Don't be optimistic, because it's the young people's world now. They want to hear what they want to hear, and you're a classic rocker. I don't know if you're gonna get the play.

When you write something, at first you might feel very defensive and protective of every single thing, but after a while, you just see what works and what doesn't. Sometimes you do test screenings, and an audience tells you that, or sometimes you eventually just go, 'Let's cut the joke out.'

There's no better feeling than when I go outside and I see the faces of people who paid their money just to see me, that tells me the music is going where it's supposed to and that's encouraging.

If you want to communicate with the American public, the literature tells you you've got to be talking at about a sixth-grade, seventh-grade level.

I think audiences crave something new. I don't think audiences want the same old thing, no matter how much conventional Hollywood tells you that.

There are times when I think, if I were a bit more famous, life could be easier in terms of work because producers want bums on seats, and they're going to get bums on seats if they get a name, if you have had that series on telly.

I don't want people turning on the telly and going, 'Dear God, not him again.'

I think there's a far more general audience now because I've done more populist stuff on telly.

I don't want a chat show or to be on telly every day, as that's not my business; my business is standing in front of people and making them laugh, and I want to see how far I can get with that.